By Don Phipps
Poignant, embracing, a panorama of restless solitude, the music of Mathias Eick’s Lullaby is, in a word, arresting. Eick surrounds himself with empathetic band mates – pianist Kristjan Randalu, bassist Ole Morten Vågan, and drummer Hans Hulbækmo. Known primarily for his skillful trumpet playing, Eick adds his voice and keyboard playing to this mix. He also composed all the numbers that grace the outing.
Eick opens the album with “September,” a sedate, melancholy opus – not unlike a cool afternoon, the breezy air fresh with the scent of trees and grass. Randalu’s piano shines – the running, tripping lines float easily above Vågan’s transitionsand Hulbækmo’s quiet drumming. The bluesy title cut, “Lullaby” demonstrates Hulbækmo’s sympathetic brush work and Randalu’s ability to take the theme of the song and harmonically rework it. Eick creates a spacious atmosphere on “Partisan,” first trumpet, then morphing into haunting vocals, then returning to trumpet.
“My Love” strikes a happier tone. The tune is buoyed by Eick’s upbeat straight-ahead trumpet and the gentle, prancing touch of Randalu’s piano. The remarkable ballad “May” might be the zenith of the material presented. Its gentle lilting theme gives Eick a chance to display his full-throated, introspective technique. “Hope” follows and is simultaneously sad and stately. More importantly, it reveals the delicate interactions of Eick’s trumpet and Randalu’s piano.
Eick uses his voice in an almost spiritual manner on “Free,” and it is here that you can hear Vågan’s bowing. The song has an airy mood of isolation – like one alone looking up at the blue sky above a towering canyon. As the piece progresses, one senses a momentum – an energy – at once peaceful and on edge. The final number, “Vejle (for Geir),” pushes forward more strongly than others on the album. It seems like Eick wanted to leave listeners with the will to continue – to persevere no matter what – his trumpet soaring effortlessly atop the rhythm section’s propelling efforts.
The beautiful ballads on “Lullaby” are striking. Eick’s compositions are about feeling alive, even when one is beaten down by the daily drudge or unexpected circumstance. He seems to be saying that despite the down moments we all experience, beauty is abundant and plentiful. One need only move forward to experience it.
7 comments:
This album has lots of emotional movement and can be uplifting during a grey winter day. Great listen.
Merde, it‘s fuckin elevator music!
It's better than elevator music but I've no idea why it's reviewed on a Free Jazz blog all the same. My problem is that so many of the younger ECM artists seem content to pay hommage to the label 'style' without adding anything new.
I agree Alan, if I see a piano on an ECM album, I assume only my cat will tollerate the vibe
"I assume only my cat will tolerate the vibe." LOL. Paul Bley recorded solo piano albums on the ECM label. Your cat must have enjoyed itself.
Anonymous, perhaps I am biased!
"Ballads" and "Open to Love" are not elevator piano music.
There are lots of good piano focused ECM records, especially during 70s
"There are lots of good piano focused ECM records, especially during 70s."
Paul Bley's last recording on ECM was the 2014 album "Play Blue: Oslo Concert," a 2008 concert Bley gave at the Oslo Jazzfestival. It should also be noted that ECM has released albums by such free jazz luminaries as Sam Rivers, The Art Ensemble of Chicago, Dave Holland, Carla Bley, Evan Parker, Roscoe Mitchell, Mat Maneri, Ches Smith, Craig Taborn, Barre Phillips, and the Circle Quartet (which featured Anthony Braxton along with Chick Corea, Dave Holland, and Barry Altschul).
While I would never argue that this is the core of their catalog, ECM is not oblivious to modern expression.
Furthermore, the blog, by covering some of these more "conventional" artists broadens the audience for the more experimental music that is the blog's primary focus.
Most would understand that jazz listening is a migration - one thing leads to the next. A jazz lover might come to the blog because it covers an album like "Lullaby," and read a few reviews that generate an interest in Tim Berne, Kris Davis, Michael Formanek, Pat Thomas, Darius Jones, or Mats Gustafsson.
Music appreciation is and will always be a growth process.
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